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**** Highly Recommended The Towle Theater’s production of Pippin was a joy to watch. The choreography is very Fosse (of course, Bob Fosse choreographed the original), the music is amazing and I loved the funky costumes. By the way, the cast is incredible! I watched carefully as they were dancing and every hand/head/hip was in exactly the same place at exactly the same time. I did hear a tiny bit of feedback about the sad story, but otherwise, it’s a hit! Kudos to Co-Directors Jeff Casey and Jim LaPietra and Choreographer Nikki Dizon. Even more Kudos to Kevin Bellamy for the set and really unusual costumes – or in some cases, semi-costumes! 4 BIG Spotlight
The Leading Player (Allison Sokolowski), who reminded many in the audience of Liza Minelli, wore a stunning white pant suit with a black & white geometric design on her jacket and one pants leg in Act I, and an equally stunning black pant suit with a black & white herringbone design (same locations) in Act II. (Costume Artwork by Neil Gainer)
The Leading Player is a sort of narrator, but she doesn’t just tell the story, she nudges the characters, particularly Pippin, into action – usually against their best interests. Together with the ensemble, she opens the show with a fun production number, Magic to Do. She also introduces the young Prince, Pippin (Daniel Rausch), who has completed his education and returned home to seek his destiny.
Unfortunately, his father, Charles (Cris Moreno), aka King Charlemagne, is almost always too busy to deal with him. Pippin wants to do something worthwhile with his life, so he thinks he might be a solder like his flashy half-brother, Lewis (Jay Torrens). The King doesn’t think soldiering would be a fit for Pippin, so, in an effort to teach him about the reality of war, he sings a really clever song, War Is a Science.
Meanwhile, Pippin’s wicked stepmother, Fastrada (Amanda Wilt), is determined to put her son on the throne by hook or by crook, so she plots Pippin’s death.
Pippin goes off to war but is a failure as a soldier. He goes on to try other, more basic pursuits – sowing a few wild oats along the way. In one of my favorite scenes, he goes to visit his grandmother, Berthe (Mara Currens), who is delighted to see him. Currens charms the audience as she sings No Time at All to Pippin.
Returning home and urged on by the Leading Player, Pippin promotes a revolution, kills his father and takes over as king. When his decrees don’t work out the way he thinks they should, he decides he really doesn’t want to be king after all, demanding a do-over. The Leading Player reverses time and everything goes back to the way it was.
On his wanders, Pippin meets Catherine (Natalie Rae), a widow with a small estate and a son called Theo (Lili Galluzzo) who has a pet duck. They get cozy so Pippin stays with Catherine for a while, but decides that farm/family life is too ordinary for him.
I would recommend Pippin for ages 15 and older due to the sexual content, innuendos and suggestive choreography.
A large part of the success of this production is due to the ensemble, which included everyone in the cast except Pippin and the Leading Player. Ensemble members not mentioned previously are Autumn Christensen, Anthony James, Sarah Beth Lipsman, Kacey Marovich, Travis Shanahan and Carlos Toral.
The Pippin Orchestra includes Music Director Ron Attreau (Piano), Kristian Zajac (Woodwind), Steven Moeller (Guitar), Maddie Edwards-Burrell (Violin), Nick Burrell (Cello), Amanda Kraupner (Bass), Benjamin Siff (Trumpet) and Dan Huston (Percussion).
Pippin runs through August 28th at the Towle Theater, 5205 Hohman Avenue, Hammond. Parking is free. Running time is about two hours, 20 minutes, with an intermission. Performances are Friday & Saturday at 8:00 pm; Sunday at 2:00 pm. Tickets are $24. FYI (219) 937-8780 or www.towletheater.org